View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Kanazawa University Repository for Academic Resources Tradition Transformed: Ink Painting in Taiwan, 1950-2000 変容した伝統：20 世紀後半における台湾水墨画 Yen, Chuan-ying ( Graduate Institute of Art History, National Taiwan University ) 顏 娟英（國立臺灣大學藝術史研究所） When the Chinese Nationalist government accepted territory, Taiwan was a frontier island, and scholars wishing control of Taiwan on October 25th, 1945, after Japan to take the civil examination had to travel all the way to announced its unconditional surrender on August 15th, Fukien; to preserve their positions and status, officials had 1945, it set up the Office of the Chief Executive of Taiwan to travel back and forth across the Taiwan Strait. After the Province. From this time Taiwan entered a new phase in mid-19th century, in order to elevate their status, wealthy its history. Artists and cultural figures likewise felt strong Taiwanese landowners were constantly crossing the Strait in enthusiasm, expecting that the new government would be order to hire educated persons to serve as long-term teachers able to bring democracy and greater room for freedom. At for boys in their clans or to serve as consultants who could the suggestion of the painter Yang San-lang, the Taiwan assist them in designing large residences and gardens, Provincial Fine Art Exhibition was established, modeled gathering antiques, and guiding them in the creation of after the Taiwan Fine Art Exhibition directed by the poetry, calligraphy, and painting, which were needed in any Japanese colonial government before the war. elegant gathering with like-minded peers. Meanwhile, the temples that served as the hubs of religious belief as well as The earlier exhibition, which had been established in art and entertainment activities in the countryside depended 1927 during the period of Japanese rule, was primarily on the fundraising efforts and donations of local enthusiasts Western realist in tone and highlighted the distinctive to hire artisans from as far away as Hui-an and Ch’üan- characteristics of Taiwanese locales and customs. At this chou in Fukien. These artisans would then stay in Taiwan time, ink painting, which was included under the Oriental for long periods of time directing temple construction, and Painting Division, was clearly influenced by the Japanese in the process they would also cultivate the next generation Nihonga tradition, which emphasized realism but at the of local artisans―including the painters responsible for same time stubbornly preserved Taiwan’s traditional the wall paintings in temples. Thus in the Taiwan Fine Art colors. Basically, since Taiwan lacked collections of Exhibitions during the period of Japanese rule, one could important traditional Chinese paintings, and Western-style still see through the subject-matter the clear influence of the education was universal, painters were not encouraged, folk temple wall-painting tradition. 1 during the learning process, to copy old paintings. Instead, the observation and faithful depiction of nature were In 1949, when the Chinese Nationalist government emphasized. In 1926, Lin Yü-shan, a young Taiwanese artist withdrew and took full control of Taiwan, most of the was first exposed and deeply moved by an exhibition of ink painters who came first to Taiwan from the Mainland paintings by well-known Chinese masters held at the Ueno were officials and scholars. The vast majority of them had park, Tokyo. He immediately changed his plan to study absorbed Western techniques and concepts to an appropriate Western-style painting and instead studied Nihonga, hoping degree only after they had thoroughly mastered copying thereby to gain greater familiarity with the ink painting the brushwork of traditional Chinese models. The most tradition. (Fig. 1a: Lin Yü-shan, A Sudden Downpour, 1934; influential among them were Huang Chün-pi黃君璧 Fig. 1b: Lin Yü-shan, Colors of Mount Kun-yang, 1958). (1898–1991), who taught in the Department of Fine Arts, National Taiwan Normal University, and P’u Hsin-yü 溥 When the Ch’ing dynasty first placed Taiwan under 心畬 ( 溥儒 Ju1896–1963). Huang Chün-pi studied in one the authority of Fukien Province and added it to Chinese of the places in China that had been the earliest to accept − 17 − 金沢大学考古学紀要 30 2009, 17-27. Tradition Transformed: Ink Painting in Taiwan, 1950-2000 Western influence—Canton—and he had had some training tsung of the Ch’ing dynasty; his sobriquet was “the in watercolor technique. However, when he resolved to Recluse of West Mountain” (Hsi-shan-i-shih 西 山 逸 士 ). become an artist, he actively copied the works of well- Confronted with the reality of the Ch’ing court’s collapse known masters of the Ming and Ch’ing, and even the Yüan. and the founding of the Republic, he immersed himself in In 1923, Huang Chün-pi, his first teacher 李 瑤 屏、 黃 般 the study of the classics and poetry and became a talented, 若 Li Yao-p’ing, Huang Pan-jo, and others —ten persons in sensitive and widely revered poet. Meanwhile, he also all—established a painting society that was expanded and expressed his feelings through calligraphy and painting, renamed two years later as the “Association for the Study of having practiced since childhood the various styles of National Painting” ( 國 畫 研 究 會 Kuo-hua-yen-chiu-hui); painting and calligraphy through the ages. From calligraphy they were in opposition to the Ling-nan School led by Kao he moved into painting, and copied the famous works of Chien-fu 高劍父 (1879-1951), who had studied abroad in antiquity in the imperial collection; he was an autodidact. Japan. The Association for the Study of National Painting In 1934, he accepted an invitation to teach at Peiping Art aimed primarily to develop and expand the national essence Institute 北平藝術專科學校 , where he taught alongside and put to order traditional Chinese painting “in order to Ch’i Pai-shih( 齊白石 1867-1957) and other famous artists. cultivate the national character of our country.” However, In 1949, he followed the Chinese Nationalist government after 1937, when the Sino-Japanese War forced Huang to to Taipei, where he taught in the Department of Fine Arts at leave Canton, his journey to Szechuan up the Yangtze and National Taiwan Normal University. To the end of his life, through the Three Gorges loosed him from his moorings P’u Hsin-yü maintained an attitude of withdrawn and provided him an opportunity to observe the natural detachment from the world, in line with his status as a landscape and to depict things from life. descendant of Ch’ing royalty, and he remained content despite poverty, taking delight in art. His style continued As the chairman of the Department of Fine Arts at the elegant tradition of literati painting, but tended to favor National Taiwan Normal University for more than 20 the oblique attack (ts’e-feng 側鋒 ) brushwork. He was best years from his arrival in Taiwan in 1949, Huang became known for the bright, numinously beautiful flavors of the the leading scholar in the Chinese painting community. Wu school artist T’ang Yin ( 唐寅 1470–1524; Fig. 3: P’u Starting in the 1960s, when he made several trips to North, Hsin-yü, The Setting Sun Brightens the River in Autumn, c. Central and South America and to Africa, he developed new 1950s). subject-matter such as waterfalls. This marked the third, innovative phase of his artistic career, the one of which he Chang Ta-ch’ien ( 張 大 千 1899–1983), who with was most proud (Fig. 2a: Huang Chün-pi, The Pine-scented Huang and P’u made up the so-called “Three Masters Breeze Through Myriad Valleys, 1960; Fig. 2b: Huang Who Crossed the Sea” ( 渡 海 三 家 tu-hai-san-chia), did Chün-pi, Making a Thatched Hut Near a High Waterfall, not actually take up residence in Taiwan until 1976, but 1984). His friend Li Lin-ts’an ( 李 霖 燦 1913–1999), the by virtue of his worldwide renown and broad connections former vice-director of the National Palace Museum Taipei, with political and cultural figures, he not only led the art once made an interesting observation describing Huan-g’ scene but also became a colorful celebrity much discussed s style as being primarily in the Yüan dynasty tradition in Taipei’s streets and byways. In 1917, he had gone to of sketching the idea in landscape, with the insertion of Japan to study dyeing, and in 1919 he made the late Ch’ small windows of detail, for waterfalls, houses, and so ing painters Tseng Hsi ( 曾 熙 1861–1930) and Li Juei- on, in which he used the techniques of Western realism. ch’ing 李 瑞 清 (1867–1920) his teachers and delved into During the nearly 40 years that he taught in Taiwan, Huang studying the style of Shih T’ao ( 石 濤 1641–c. 1718) consistently made copying the predominant method of and Pa-ta-shan-jen ( 八 大 三 人 1626–1705). Starting in instruction. 1934, he began teaching in the art departments of National Central University and other schools. From 1941 to 1943, P’u Hsin-yü was the great-grandson of Emperor Hsüan- during the war between China and Japan, he made two − 18 − 金沢大学考古学紀要 30 2009, 17-27. Tradition Transformed: Ink Painting in Taiwan, 1950-2000 visits to the Mo-kao Grottoes at Tunhuang, where he copied the works by Liu Kuo-sung and the other painters in the ancient wall paintings. (Fig. 4a: Chang Ta-ch’ien, Copy Fifht Moon Group in the 1960s may be viewed as a kind After Shih T’ao’s ‘Lofty Recluse Beneath the Pines’, 1929).